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BORIS ANISFELD
ORIGINAL ART
БОРИС АНИСФЕЛЬД

Day, tempera and charcoal on paper, signed and dated 1917 lower right 31 x 37". Inscribed on the reverse”Mural N4”. Exhibited: Brooklyn Museum, NY 1918, #84; Boston, 1924 #61; William Benton Museum of Art, Storrs, CT, 1979#12 (exhibition label on the reverse); Gillman Galleries, Chicago, 1982. Provenance: Family of the artist. Bibliography: “A Time to Gather… Russian Art From Foreign Private collections”, State Russian Museum, Saint-Petersburg, Palace Editions,2008, illustrated on p.22; Art+Auction, March 2008, illustrated on p. 82. In Gothic Revival mahogany hand-carved frame flanking with two gothic pilasters with pierced turret-form finials above a molded cornice with pierced quatrefoil decoration ( the frame-maker’s label “J.F.P. Aug.1878” on the reverse). Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # W002, p.298 - illustrated.

Nude boy clutching himself, 1901- 1909. Red chalk on thin off-white wove paper. 17x13”. On verso: graphite sketch of cat with restudy of forehead. Inscribed at lower left in graphite: book 483 and in ink #4. Like other drawings of the boys reproduced in ”Boris Anisfeld in St. Petersburg 1901-1917.” Shepherd Gallery, fall 1984, ##4-6 (see also the next item) this study was executed in a drawing class at the St. Petersburg Academy. From artist’s drawing books, estate no. 483. Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # G006, p.263 - illustrated.

Nude boy standing hunched, 1901-1909. Red chalk on thin off-white wove paper. 17x13”. On verso: inscribed at lower left in graphite: book 484 and in ink 1. Like other drawings of the boys reproduced in ”Boris Anisfeld in St. Petersburg 1901-1917.” Shepherd Gallery, fall 1984, ##4-6 (see also the previous item) this study was executed in a drawing class at the St. Petersburg Academy. From artist’s drawing books, estate no. 484. Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # G007, p.263 - illustrated.

“Snow Maiden” Costumes for five Boyars .Metropolitan Opera Production 1922. Gouache on paper, 11x14”, signed and dated 1921 low right. Exhibitions: Lincoln Center 1959, The William Benton Museum of Art, Storrs, CT, 1979, #52(illustrated). Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # T478, p.236 - illustrated.

Costume design for a Boyar in Sadko. Signed twice in Cyrillic and dated 1910 low right; signed and dated 1910-1919 low left; watercolor, gouache and gold paint on paper laid down on board. 19x8 inches. Exhibited: Brooklyn Museum 1919 (last page of the catalog), The Kingore Galleries, New York, 1919 Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # T067, p.187 - illustrated.

“Snow Maiden” Costumes for five Boyars .Metropolitan Opera Production 1922. Gouache on paper, 11x14”, signed and dated 1921 low right. Exhibitions: Lincoln Center 1959, The William Benton Museum of Art, Storrs, CT, 1979, #52(illustrated). Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # T478, p.236 - illustrated.

Design for the Decor of the Palace of the Night from the Opera The Blue Bird Signed and indistinctly inscribed Blue bird low right. Brush and indian ink, gouache and varnish on board, 55 x 74.5 cm Executed circa 1919. Bears labels with the title on the back. Bibliography: The Touchstone, Dec. 1919 ill. on p. 93; Boris Anisfeld Catalogue Raisonne by E Lingenauber and Olga Sugrobova-Roth, reproduced - T315 pg 218. Provenance:Mrs Chatfield-Taylor, Chicago, (daughter of the artist); Sale, Sotheby’s, London, Catalogue of Decor and Costume Designs from the Diaghilev Period, 15th December 1969, lot 44; coll. James L. Gordon; Julian Barran Ltd, London.

“Snow Maiden” Costumes for five Boyars .Metropolitan Opera Production 1922. Gouache on paper, 11x14”, signed and dated 1921 low right. Exhibitions: Lincoln Center 1959, The William Benton Museum of Art, Storrs, CT, 1979, #52(illustrated). Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # T478, p.236 - illustrated.

Carnival”, Decor for Mikhail Mordkin's American Tour 1926. Gouache on cardboard, signed lower right 13x10". In original frame art deco with ormolu mounts and brass inner slip Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, #T623 , p.252 - illustrated.

Blue Bird". Metropolitan Opera,1919. The Joy of Seeing What is Beautiful. Costume design for Act II, Tableau IV, The Palace of Happiness. Tempera on illustration board, signed and dated 1919 lower left 13x12". Exhibited: Adler Fine Art Galleries New York, 1980 #33; Gillman Galleries, Chicago, 1982. Bibliography: “A Time to Gather… RUSSIANART From Foreign Private collections”, State Russian Museum, Saint-Petersburg, Palace Editions,2008, illustrated on p.23.Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, #T337 , p.221 - illustrated. In original Italian hand-carved polychrome and parcel gilt frame beginning of XX century with brocaded mat

“Carnival”, Curtain for Mikhail Mordkin's American Tour 1926. [Pierrot and Colombina]. Gouache on cardboard, signed lower right 13x10".Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, #T619 , p.252 - illustrated. In original art nouveau Austrian hand-carved frame with ormolu mounts and a maker label“ C. Buhlmayer, Wien” on the back. Exhibited: International Exhibition of Watercolors, Pastels, Drawings and Miniatures, 03.31-05.30 1932, #179; Adler Fine Art Galleries New York, 1980 #26

Nativity. Tempera on board. Signed low right [1934]. 11x30”. Label with number 9 circled and also numbers 310, 34/2439 and letter M circled by artist’s hand on the back. In original Swedish frame with linen insert probably selected by the artist. Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # P131, p.117 - illustrated.

1.Goddess of dreams (image to the left). Unsigned, undated. 60 x 46". Oil on canvas. Provenance: Family of the artist. Exhibited: Duke University Museum of Art, Durham, NC, 2001-2006 Enclosed: the original study for the painting signed by the artist (see the next item).Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # P104, p. 114- illustrated.
2. Goddess of dreams (images to the right). Study for the previous painting. Tempera on canvas laid on cardboard, signed lower left 12 x 8,5". In a hand carved gilded over red ground frame with column motif (replica of XV century Italian frame) [Provenance for the frame: Cleveland Museum of Art, Ohio; Rachel Davis Fine Arts > Frames at Auction > Lot 914, 24.03.2012). Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # P105, p. 114- illustrated.

Fate. Signed and dated 1956-57 lower left Oil on canvas. Inscribed on reverse “Fate”, #189, 82x65". Exhibited and illustrated in the catalog of the exhibition: The Art Institute of Chicago1958 #1; Duke University Museum of Art, Durham, NC, 2001-2006. Illustrated in “ANISFELD Boris”. Text by S.Bekkerman.95p.p.86 ill. ABA Gallery, Palace Edition, 2001. p.10.Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # P045, p.104 - illustrated.

Fate. Signed and dated 1956-57 lower left Oil on canvas. Inscribed on reverse “Fate”, #189, 82x65". Exhibited and illustrated in the catalog of the exhibition: The Art Institute of Chicago1958 #1; Duke University Museum of Art, Durham, NC, 2001-2006. Illustrated in “ANISFELD Boris”. Text by S.Bekkerman.95p.p.86 ill. ABA Gallery, Palace Edition, 2001. p.10.Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # P045, p.104 - illustrated.

Buddha with pomegranates. Dated 1916 and signed lower left in Russian. Oil on canvas. 28x28". Provenance: Family of the Artist. Exhibited: Mir Iskusstva, Petrograd, 1916; Exhibited and illustrated in the catalog of the exhibition, Brooklyn Museum, NY 1918, #61; Sesqui-Centennial International Exposition. Painting, Sculpture and Prints. Philadelphia. 1926. #1353 of the catalog; Duke University Museum of Art, Durham, NC, 2001-2006. Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # P456, p163. - illustrated

Life (The Descent/ Deposition from the Cross). The central scene is surrounded with twelve medallions reproducing other paintings by B.ANISFELD. Tempera on board. Signed and dated 1934 lower right 37 x 29" Reproduced in Christian Art January 1965, cover page. Bibliography: “A Time to Gather… RUSSIANART From Foreign Private collections”, State Russian Museum, Saint-Petersburg, Palace Editions,2008, illustrated on p.22. Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # P102, p.114 - illustrated. {“The large canvas The Descent from the Cross was clearly inspired by the ancient biblical story. The electrifying form, chosen by the artist, brings the story up to date, drawing direct parallels between the suffering of the first Christians and the apostles, mournfully touching he who died for the sins of mankind, and the merciless Moloch perpetually moving an endless armada of sinners, doomed to grope about the churchyard. According to Dr. Petrova, this form, which was chosen by Anisfeld, is an obvious Americanism, a modern presentation that was a big plus for artists who had an opportunity to revive the classic painting techniques.” http://russkiymir.org/en/publications/index.php?id4=8218}
In original hand carved and guild Florentine 17th century frame with brass inner slip

Blue Room. Signed and dated 1945 lower right Oil on canvas. 50 x 40". Exhibited: The Art Institute of Chicago,1958, #96. Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # P029, p. 102- illustrated.

Sodom and Gomorrah. Signed and dated 1963/4 lower right 65 x 39". Oil on canvas. Reproduced in "Christian Art", January 1965, p.8. Exhibited: Duke University Museum of Art, Durham, NC, 2001-2006; “A Time to Gather… RUSSIANART From Foreign Private collections”, State Russian Museum, Saint-Petersburg, February-June 2008, Moscow - Exhibition Center "Tsaritsyno", June-July 2008, Palace Editions,2008, illustrated in the catalog p. 200 ill 139. Bibliography: AMERICAN ARTISTS FROM THE RUSSIAN EMPIRE The State Tretyakov Gallery (Moscow), The State Russian Museum (St. Petersburg), Palace Editions 2008, illustrated on p. 27.Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # P132, p.117 - illustrated.

[“This is one of Boris Anisfeld’s late works on a Biblical theme. It is clear that, with the years and under the influence of contemporary American trends, the artistic language of the artist altered, he strove even in his eighties to keep up with the changing times. He continued, though, to find inspiration in his favorite source. Genesis of the Holy Writ relates: “Then the Lord rained on Sodom and Gomorrah brimstone and fire from the Lord out of heaven; and he overthrew those cities, and all the valley, and all the inhabitants of the cities, and what grew on the ground”. Lot and his family forsake the city in terror. The yellow patch of complex configuration in the centre of the canvas representing the fiery gusts of hot fire, the thick brown and black swirls of smoke, red and blue patches in combination with the white and green ones – all together they create color chord of unbelievable strength, influencing the viewer’s emotional impression”.]
Enclosed: Original AP photo of Boris Anisfeld in his studio with this painting in background (shown below)

Thoughts of Maternity, wooden sculpture, cherry wood (tropical mahogany?). H=24". Reproduced in Christian Art January 1965, p.5. Exhibited: Gillman Galleries, Chicago, 1982. Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # S006, p.301 - illustrated.

Bronze statue of a nude woman. C.1930. Signed and numbered 1/9 (according to common considerations copy #1 is accounted to be an original, no other copies of this sculpture are known to be produced anyway}. 35"x16"x12". Exhibited and illustrated in the catalog: The Art Institute of Chicago,1958; Gillman Galleries, Chicago, 1982. ; exhibited: “A Time to Gather… RUSSIANART From Foreign Private collections”, “A Time to Gather… RUSSIANART From Foreign Private collections”, State Russian Museum, Saint-Petersburg, February-June 2008, Moscow - Exhibition Center "Tsaritsyno", June-July 2008, Palace Editions,2008, illustrated in the catalog p. 198 ill 138 Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # S013, p.302 - illustrated.

LAKE IN MICHIGAN oil/canvas board, signed low left and dated 1955, 15x20 inches.Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # 260, p.136 - illustrated.

Lady with a background of a City. Signed and dated 1930 lower left Oil on canvas. 30"x33". In original Urbino or Ferrara circa 1550-1600 hand carved, painted and gilded tabernacle frame that has on each side a column in front of a painted panel flanking a representation of Saint Peter on the left and Saint John the Baptist on the right, above a frieze of carved foliage scrolls and topped by a cornice with dentils ( that frame mimics the façade of a palace doorway and is true to the architecture of the time and the region). Exhibited: The Art Institute of Chicago1958 #81. Bibliography: “A Time to Gather… RUSSIANART From Foreign Private collections”, State Russian Museum, Saint-Petersburg, Palace Editions,2008, illustrated on p.21; Art+Auction, March 2008, illustrated on p. 84. Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, #P395 , p. 158- illustrated.

Exodus from Egypt. Signed and dated 1931 low left [1928-31 according to the artist’s marks in 1958 catalog] . Oil on board. 33 x 50". Reproduced in Christian Art January 1965, p.6. Exhibited: The Art Institute of Chicago1958 #20; The William Benton Museum of Art, Storrs, CT, 1979, #24; Gillman Galleries, Chicago, 1982. ; exhibited: “A Time to Gather… RUSSIAN ART From Foreign Private collections”, State Russian Museum, Saint-Petersburg, February-June 2008, Moscow - Exhibition Center "Tsaritsyno", June-July 2008, Palace Editions,2008, illustrated in the catalog p. 88 ill 45 Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, #P098 , p. 114- illustrated. [“Boris Anisfeld repeatedly turned to Biblical motifs. More accurately, one might say that, starting with “Adam and Eve” (1909), a contest work at the St Petersburg Academy of Arts, Old and New Testament themes accompanied the artist through his life. “The exodus from Egypt” large-scale work is a multi-figured composition oversaturated with forms and objects. Judging by the date of the composition it took Anisfeld a long time to complete it. The subject is the exodus of the Jews from Egypt – presented by the artist in a highly original way. We can see only the pursuers of the Jews – warriors riding horses and chariots and a rapid dark and deep flow absorbing the foreground. The stretched horizontal format gives the work frieze features and makes it seem like a wall painting. The combination of red, green, yellow and dark blue gives the work the necessary dramatic tone”.]Illustrated in “ANISFELD Boris”. Text by S. Bekkerman.95p.p.86 ill. ABA Gallery, Palace Edition, 2001. p.p.10,48. Another variant exhibited and illustrated in the catalog of the exhibition, Brooklyn Museum, NY 1918, #107. In American, 20th Century, pressed wood and gilded Stanford-White style original frame chosen by the artist, made by Newcomb-Macklin (inscribed 33 x 50 # 4566 GG DJ11 19.6 – illustrated in Newcomb-Macklin Frame Catalog 1938, n 4566 p26)

Lake scene. Signed lower right. Not dated [c.1917]. 38 x 44". Oil on canvas. Provenance: Sotheby's. London, 16.06.1994, lot 99. Exhibited: Paris, Exposition de L’Art Russe ‘Monde Artiste’j a la Galerie “Boetie” 1921 (label on the back). In original XVII century hand carved partially guilt and blackened frame

Self portrait. Signed lower right Oil on canvas. 32 x 26". Inscribed on the reverse: Portrait of Artist, num 4, [19]55, 26x32, also numbered 10, # 81(on the stretcher) and 452 (label on the stretcher). Reproduced in Christian Art January 1965, p.5. Exhibited: Gillman Galleries, Chicago, 1982; : AMERICAN ARTISTS FROM THE RUSSIAN EMPIRE The State Tretyakov Gallery (Moscow), The State Russian Museum (St. Petersburg), Palace Editions 2008, illustrated on p. 158 of the catalog. Provenance: Family of the Artist. Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, #P407 , p.159- illustrated. In Italian 17th century part carved and gilded tabernacle frame, with scrolling leaf, flowers, theatrical masks and flying eagles to the pediment, predella and entablature, flanking with Milanese decorated columns with cherubim’s on top (illustration see below)

Adam and Eve. Oil on canvas. Signed lower left, not dated [1909], 105x125". Bibliography: “A Time to Gather... Russian Art From Foreign Private collections”, State Russian Museum, Saint-Petersburg, Palace Editions,2008, illustrated on p.25. Russian Museum (Leningrad) certificate is enclosed. Illustrated in “ANISFELD Boris”. Text by S. Bekkerman.95p.p.86 ill. ABA Gallery, Palace Edition, 2001. p52. EXHIBITED: 1909, Current exhibition of the Higher Art School at the Imperial Academy of Arts, St. Petersburg (no 12). Another (latest) variant of the painting was exhibited and illustrated in the Catalog of the exhibition, Brooklyn Museum, NY 1918, #14. The same latest variant is also discussed in comparison with our variant in” Boris Anisfeld in St.Petersburg 1901-1917.” Shepherd Gallery, Fall 1984, #27, illustrated. Literature: "Boris Anisfeld Catalog Raisonne" by Dr. Eckart Lingenauber and Dr. Sugrobova-Roth, Edition Libertars, Dusseldorf, 2011, # P071, p. 108- illustrated ; illustrated in Русское Искусство magazine Moscow, 2015 v4 p 82.

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